


Pillow Talk: Heteronormativity, Gender Roles, and Air Conditioner Repair in Community

by aye_of_newt



Category: Community (TV)
Genre: ...what am i doing with my life????, M/M, NOW EDITED TO INCLUDE TROY LEAVING, So..., ex english major bullshit, this isn't so much a fic as an essay?, this pandemic has gone on too long
Language: English
Status: Completed
Published: 2020-07-23
Updated: 2020-07-23
Packaged: 2021-03-04 23:21:50
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 8,096
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/25454587
Author URL: https://archiveofourown.org/users/aye_of_newt/pseuds/aye_of_newt
Summary: This isn't a ficIt's an essay on why the air conditioner repair school symbolizes the heteronormativity and gender norms that prevent Troy from admitting he's in love with Abed.I cited my sources and everything.
Relationships: Troy Barnes/Abed Nadir
Comments: 48
Kudos: 97





	Pillow Talk: Heteronormativity, Gender Roles, and Air Conditioner Repair in Community

**Author's Note:**

> I 100% worked harder on this than I did on multiple ACTUAL college essays.....not sure how I feel about that. 
> 
> AMMENDUM: This now features one last section on Troy leaving in S5...I guess I could have waited one more day to post this and completed watching the arc...but that's why I'm just an internet article writer and not a pro 
> 
> lmao  
> Hope you enjoy it :)

# Introduction 

_“I’m not sure if I heard something to this effect once before and am simply unable to find the source, or if the realization came to me once in a dream that revealed the secrets of the universe, but I think I once heard that in all of the best comedies, there comes a moment when it isn’t funny anymore. When the jokes have been set aside and a genuine moment of honesty, of human connection, is allowed to break through the veil of insincerity, of depersonalization, of constructed happiness. In that moment, we are allowed to breathe, to reflect, to feel. When the scene ends, the laughter may begin again and we carry on with ridiculous situations and snappy one-liners, but at the end of the show, it was that moment of honestly, embarrassingly real feeling that marks what we have seen as truly great⏤ whether we consciously realize it or not.”_

⏤ Me

They say that comedy is low-brow, fit for the common and uneducated masses who want nothing more than to fill their few moments of free time with mindless entertainment⏤ but then again They tend to be pretentious stiffs. Despite being a _lowly_ comedy series _, Community_ has an undeniable emotional core and the capacity to show real heart and depth. Art can come in many forms and to discount a series because it is a comedy would be irresponsible, narrow-minded, and a disservice to all the people who poured their hearts out in its creation _._ Therefore, it is not unreasonable to lend a critical eye to the text and the symbolism found within. For just a short time, one might allow themselves to lay down the cynicism and skepticism of the modern media consumer and look at _Community_ with fresh, believing eyes that hold hope for representation that dives beyond shallow visuals or side jokes and cuts to the heart of the viewer. When this approach is taken and applied to the examination of the deep friendship shared between Troy and Abed, it becomes clear that beyond the shallow impression of queerbaiting and vaguely homophobic jokes lies true love, though it is trapped between network censorship and metaphor. Although the buildup to the inevitably gay conclusion begins early on in the series run, this dynamic comes to a dramatic and thematically strong head in the middle of season three, when, through the metaphor of air conditioner repair, themes of heteronormativity, internalized homophobia, gender roles, and queer resistance come shining through. 

# Troy’s Perception of Manhood and Masculinity

Troy comes from a traditionally masculine background⏤ he was the star quarterback of his high school football team, the epitome of the straight, all-American “man”. Or boy as the case may be. However, as the show progresses, he is proven to hold much more emotional depth and sensitivity than the stereotype of the popular jock. He is shown to care deeply about his friends, enjoy “feminine” activities such as dance, and cries often. However, despite these more progressive aspects of his personality, Troy is not fully secure in his identity. He is ashamed of his emotional vulnerability (Pillows and Blankets) and longs for acceptance from others as illustrated by his desire to be “seen as man”, which was heavily focused on in the episode where Troy turns twenty-one, “Mixology Certification”. By the end of the birthday party Troy has realized that his role models are fallible and there is more to being a grown-up that looking cool and drinking. Yet, growth is a gradual process, both in real life and in _Community,_ and Troy’s journey is not complete. 

All children and adolescents learn how to navigate the world from those around them, most often in the form of their parents, guardians, or mentor figures. Within the context of the study group, Troy’s two male role-models both exhibit toxic masculinity in different forms and capacities. The first is Pierce, who Troy lived with for a considerable period of time, forging an unmistakably significant bond if by proximity than nothing else. Pierce, especially at the beginning of the show, is a self-admitted homophobe who mocks any deviation from traditional gender roles. While Troy often disregards his statements and generally lacks outward respect for Pierce, he still values him amongst his found family, and Pierce’s suggestions would most likely have a subconscious effect on Troy. Much like within a birth family, a relative in a found family can be loved despite flaws, even when those flaws cause direct mental and emotional damage. 

More important than Pierce however is Jeff, who Troy undeniably admires as a father figure and often looks to for guidance on how to be a man and a leader. Jeff is a womanizer and, despite taunting from others (mainly Pierce) that he might be gay, Jeff engages in many socially recognized archetypes of an “ideal man”. He values money, career success, fine liquor, fancy cars, and emotional distance. Troy himself does not possess many of these attributes, but he is shown to idolize Jeff and desires to impress and emulate him, much like a boy would his birth father. 

Over the course of the first three seasons, Troy learns to let go of some of his preconceived notions of what it means to be a man or a grown-up. He lets go of the expectations and constrictions placed on him as a quarterback by learning to play for fun in “Football, Feminism, and You” and some of his false conceptions of adulthood in the aforementioned twenty-first birthday episode. However, he can still succumb to the pressures placed on him by others, especially in his desire to be seen as a leader and a man as illustrated in “A Fist Full of Paintballs” and “A Few Paintballs More.” It is this desire that causes Troy the greatest internal conflict when navigating his relationship with Abed and accepting his own queer identity. 

# Troy and Abed: Navigating Friendship...and Maybe More?

Troy and Abed did not begin their relationship as automatic friends. As Abed would attest to, this should be expected by the laws of sitcom and teen movie logic⏤ they ought to be enemies as the archetypal jock and nerd. But Troy’s _messing_ with Abed lasted no more than an episode as Abed’s genuine efforts and delightfully weird personality won him over. Before long they were joined at the hip⏤ sometimes literally if their joint scary Halloween story is considered. Throughout the course of their friendship, they grew emotionally close in a way that they are not with any of the others within their group, especially Abed who struggles to connect to anyone but Troy, who seems to understand him almost effortlessly. 

Like all good sitcom-based male friendships, Troy and Abed’s friendship blossomed and deepened over time into a true bromance with an undeniable undercurrent of romantic and sexual tension. The dynamic is poked fun of multiple times throughout the series, often for comedic effect. However, in the faith of taking the text seriously, their relationship with each other can be interpreted seriously as the development of a romatic relationship. 

To go through every single episode of _Community_ to find evidence that Troy and Abed have chemistry would be both tedious and unnecessary. It is stated by the characters themselves that a pseudo-homoerotic dynamic exists between them, though most often done for comedic effect. However, there are a few key moments of growth that can be noted as being particularly significant and perhaps a touch more serious than others, lending credit to the practice of examining _Community_ as a literary work rather than a “basic” sitcom. The greatest of these can be found in the extended plotline of Troy and the question as to whether he should pursue air conditioner repair. 

# Societal Pressures and Internalized Homophobia Represented Through Plumbing and Air Conditioner Repair 

## Societal Expectations Place Relationships in Perceptive 

Troy first encounters the call of the plumber in “English as a Second Language”. In the episode, Troy is enticed by the promise of a job in a career he has the natural talent for⏤ plumbing, a traditionally masculine job which generally does not have much room for emotion or sensitivity as it is known as a gruff and dirty profession. Although he is encouraged to pursue the trade by multiple plumbers, all masculine men, Troy initially resists, claiming he isn’t really interested in the job. He wants to continue in school. Troy only actually considers taking the job when Abed, in a meta-hommage to _Good Will Hunting (_ self-referencing the overall hommage that the entire plotline is paying), encourages Troy to go in pursuit of something he could be successful at by quoting the line, “You know what the best part of my day is? For about ten seconds from the time I sit down in Spanish to the time I look at your desk. Because maybe I’ll look, and you won’t be there.” 

(Ironically, this scene could be considered to be paying hommage in its subtext as well considering that, in the original film _Good Will Hunting,_ the characters Will and Chuckie, emulated by Troy and Abed respectively, carried their own queer-coded tone.)

Within the context of the episode, Abed is attempting to use pop culture references to indicate to Troy that he supports him and wants his friend to succeed. However, Troy misinterpreted the statement and believed that Abed did not care about him as much as he thought or even wanted him gone. Only after the perceived loss of his friend did Troy consider leaving Greendale. In turn, it was the only with the understanding that Abed _specifically_ did care about Troy and wanted him to stay that Troy turned down the offer by the plumber, regardless of his other friends’ feelings on the matter. During the conversation in which he did so, Troy very explicitly stated his reason was to be with his friend Abed⏤ not his friends plural⏤ _Abed_.

## Air Conditioner Repair and Straight Male Privilege 

In the episode “Advanced Gay” Troy is approached by Robert Laybourne, the Vice Dean and Head of the Air Conditioning Repair School. Similar to plumbing, repair and mechanical service jobs are considered to be traditionally masculine, a perfectly acceptable job for a man to occupy in the eyes of heteronormative society. However, within the context of the show, air conditioner repair comes with a high level of prestige and power as it is the only successful program at Greendale. Therefore, air conditioner repair symbolizes not only traditional gender roles and heteronormativity, but also the power and privilege that straight cis men are able to achieve because they belong to the most powerful groups in society. 

Once again, Troy is asked to leave Abed to achieve greatness within a male-dominated field for the sake of his own future. He is captured against his will and forced into the role of air conditioner repairman, symbolic of the way that society forces young boys into roles that they may not be interested in because it is considered “correct” for someone of their gender. Inside the school, he is shown a history of how AC repairmen became so powerful in a story reminiscent of the polished American revolution story⏤ men who rose up from the bottom to rule the world. Of course, just like the story of the Revolution, the tale is hallow. It comes with the caveat that the promised golden future is only for certain people and that to be a part of it, Troy must give up everything else about himself. To belong to the top rung of society, he would have to conform entirely to their rules. To be different is to be weak, to betray the brotherhood. If Troy were to remain loyal to his relationship with Abed, he would not be welcome within the Air Conditioner Repair School. 

Troy is enticed by the promise of being special, of belonging to a powerful group. However, when he asked Abed about what to do, if he should choose air conditioning or plumbing, he comes to realize that what he wants most is just to continue his relationship with Abed. Although they are still situated within the bounds of platonic friendship, Abed is already the most important person in Troy’s life. Instead of making the decision to leave and join the world of the heterosexual powerful man, Troy decides to hold off on making a choice. For the time being, he is happy to just have a great friend and no limits on his future. As suggested, he goes with what makes him the happiest⏤ Abed. 

Meanwhile, in the mirroring plotline of the episode, Pierce is dealing quite directly with issues related to the LGBT community. When his family’s wet wipe company accidentally becomes a gay icon, Pierce is thrust into the world of queer identity, which he handles better than might expect considering who his character is. Although Pierce initially only wants to embrace his new status because it is financially beneficial, he does develop some affinity for the community as the episode continues. It is his father, Cornelius, that has a real problem with gay people. He forbids Pierce from continuing the campaign of gay wipes, pressing his son into doing his bidding. It is quite clearly a reference to just about every coming out character arc seen on television in the last twenty years. As much was even alluded to in the show itself by the chant of “look at me know, Dad” that broke out at the “Gay Bash” dance, showing a direct parallel between the queer men at the dance and Pierce himself. Although none of the characters actually came out in the episode, using Pierces’s “straight” story to highlight LGBT themes lends support to the storyline in which while Tory faces heteronormativity through metaphor. 

Furthermore, it becomes very clear that Pierce’s homophobia and toxic masculinity was a result of his father’s own negative attitudes towards marginalized people and the harsh treatment he gave Pierce himself. This illustrates that, due to the impossible demands of traditional masculinity and restrictive gender roles, there exists an endless cycle of harm and abuse committed by damaged men against other men and boys, resulting in the further perpetuation of toxic standards. When Cornelius dies, Pierce tells his departed father to “suck it”, concluding the episode with a direct statement on how the older generation, outdated ways, and damaging restrictions of society are slowly dying out to make room for a more accepting future. As Jeff, who shows great support in the overthrowing of toxic fathers says, “The world is done with you.” 

## The Pillow War as a Metaphor for the Conflict of Coming Out vs Denying Identity to Retain Social Standing 

In the episode “Digital Exploration of Interior Design”, Abed and Troy are building a pillow fort when the Dean informs them that they could potentially break a world record for the largest blanket or pillow fort. At the prospect, Troy suggests that they build a blanket fort instead so that their chances may be improved. Abed, however, insists that they continue with their original pillow fort idea, stating, “I don’t want to compromise quality for square footage”. 

This conversation can be seen as a metaphor for how Abed and Troy related to society. Abed, by virtue of his identity on the Autism spectrum, has always been on the outside and does not generally seek validation from others. He lives by his convictions and only considers changing or modifying himself under a few special circumstances, such as filtering to avoid hurting someone’s feelings or to better belong to the one group of friends that he does have. However, as his relationship within his friend group grows stronger, Abed feels more comfortable expressing himself clearly and will occasionally push back against their expectations, such as his insistence on sticking to the plan of using pillows, which he believes are better.

Troy, while he does enjoy being weird and playing with Abed, is more likely to submit to expectations. This has been illustrated in the past such as during the Halloween episode, “Epidemiology” when his costume is mocked by girls, prompting him to change it, or during Shirly’s wedding when he leads the charge on “normalizing” himself and Abed in “Urban Matrimony and the Sandwich Arts”. At the idea of gaining societal status and recognition at breaking a world record, Troy is ready to abandon the pillow fort that he planned to make with Abed in favor of more easily achieving the accolades and acknowledgment he desires. 

This dynamic in itself might be a fairly surface-level explanation for the issues that the two-episode arc is attempting to cover, however, the metaphor can be continued further to examine how those perceptions of society and the characters’ view of their social place affect the relationship between Troy and Abed. In this context, Abed is saying that he would rather stay true to the relationship that he shares with Troy than attempt to fit it into a more “acceptable” form⏤ that is, he would rather take the step to be romantically involved with Troy and miss out on social acceptance than remain friends and escape judgment. Troy on the other hand is reluctant to do so.

When Troy leaves to consider his options, he is confronted by Laybourne, the manifestation of Troy’s internalized homophobia and the expectations put on him by society. He is shamed for the nature of his relationship with Abed when it is implied that Troy is not a real man for going along with Abed’s plan, for not being “in charge” enough. He is encouraged again to follow the path of becoming an air conditioner repairman⏤ that is, maintain and elevate his status as a man who fits into society’s preconceptions of acceptable behavior and gender expression. 

With his masculinity undermined, Troy returns and tells Abed that he is leaving. In response, Abed does not try to stop him, but tells Troy that he can’t involve Abed’s pillow fort in his attempt for recognition. Looking past the surface, his statement can be interpreted to mean that, while Troy can try to conform to expectations, Abed will not follow along. He is okay with living outside of heteronormative society and is no longer going to try and hide for the sake of Troy’s insecurities. 

They again confront each other with the Dean there as an intermediary. Abed asks Troy, “Is that what you want, Troy? For me to destroy my pillow fort so you can set your record?” At this point, it is no longer a pillow fort. Fluffytown II is a symbolic representation of queer identity, both Abed’s and the tension between Troy and Abed. With this question, Abed asks if he should deny his own identity and the relationship that they have just begun to build so that Troy can succeed in his aspirations. The situation is representative of how many queer people, both in the past and in today’s world, have hidden their true identity for fear that they would lose their career. 

Seeing how important the issue is to Troy, Abed initially agrees to go along with the plan, sacrificing his own emotions for the sake of Troy. In doing so, he gives up his chance for happiness by being romantically involved with Troy, but he ultimately finds it worth it because of how much Troy means to him. He allows his pain to become his friend’s success. As the Dean says, “Everyone wins! Except for Abed. But you know, not everyone can win”. The only condition that Abed places on the deal is that the pillow fort must be torn down, not incorporated into the blanket fort. He states, “I’d rather see my work destroyed than compromise it”. By doing so, Abed essentially explained that they can remain friends, but if Troy is not going to be honest, that is all they can be. Abed will help Troy to achieve his goals, but he will not compromise himself and his values to do so.

Abed prepares to destroy the pillow fort that he built with Troy, the physical representation of their growing potential for a romantic relationship, with the statement, “You were a beautiful dream”. This may perhaps be a reference to the idea that they could ever be together having been foolish, or even to Troy himself. However, Laybourne again intercedes. In trying to further the distance between Troy and Abed, the one and only connection to the world that prevents Troy from leaving to join the AC program, Laybourne asks Abed why he is willing to give up himself for nothing in return. He advises Abed, “Why should it fall on them to accept you?” To the viewer who does not wish to acknowledge the romantic undercurrent, this line could be easily interpreted as a reference to Abed’s Autism and consequent isolation from social groups. However, it can easily be read as a statement about the treatment of LGBT people who are outcast for who they love. 

Granting a glimpse into his nefarious motives, Laybourne tells Abed, “Don’t corrupt the host to pacify the parasites”, using quasi-religious language usually reserved for preaching against the supposed sin of homosexuality to encourage Abed to resist Troy’s plan. Rather than actually motivated by the desire to help Abed be true to himself, Laybourne is seeking to ultimately destroy their relationship for good. In this sense, he can be seen as multiple things⏤ the continued embodiment of heteronormativity, acting internally in Abed rather than the outside forces that pressure Troy. In this reading, he works as a manifestation of Abed’s desire to resist the roles that society has laid out for him. Or, along the same vein, as he is dressed differently to the Laybourne that earlier confronts Troy, he could be seen as the foil of heteronormativity, much like the cartoon scenario of an angel and devil that sit upon a character’s shoulders. In this instance, the side of good tells Abed not to cave to pressure to repress himself. 

Either way, the effect is the same. Laybourne convinces Abed to go to war with Troy, severing the remaining ties in the hope that Troy will come into his fold. While on the surface, the issue may appear to be about something as silly and shallow as pillows and blankets, at its heart, the ensuing war is about the battle between remaining hidden to better conform to society or living with visible pride. It is the age-old question that queer couples have had to face over and over again⏤ _do we remain “roommates” or “gal pals” to the public eye so that we may succeed in a homophobic world, or do we say screw it and embrace our love publicly?_ In this instance, Abed sides with pride while Troy seeks protection in artificial conformity. 

It is this disagreement that divides the two. 

Episode thirteen culminates and leads into fourteen with the breakout of a full-blown war between Abed and Troy. Troy’s side of argument represents the establishment, conformity to gender expectations and heteronormativity. Siding with him is Shirley, a kind, though strict Christian that does not approve of LGBT relationships, and Pierce, the embodiment of societal power-structures. Although Pierce does eventually defect to the other side, it is only because he is passed over for second in command, as he follows the pursuit of power over social activism. Later, Troy involves Chang, head of campus security and a stand-in for the police, as well. The members of his force are shown at attack members of Pillowtown while they are resting peacefully or are already down, much like real police treat marginalized people in real life. (ACAB bitches). 

Abed’s side represents queer identity and power. Starburns, or Alex as he repeatedly asks others to refer to him as but with no avail, a character often mocked for his mode of self-expression, throws the first pillow⏤ a floral number that literally topples the foundations of the fort that Troy has built. With extreme ease, queer identity that refuses to be marginalized or silenced exposes the fragility of the world that the cishet patriarchy insists is the bedrock of proper moral society, resulting in unrest. 

Abed’s most effective and brutal attack is not a show of physical strength, but an emotional war against Troy. He knows what makes Troy tick, his insecurities and fears, and how to exploit them. It is this action, more than anything, that betrays Troy’s trust, elevating the conflict. He, in turn, lashes out, targetting Abed’s difficulty relating to others, pointing out that his relationship to Abed was special and could not be replaced. It is at that point that Jeff finally becomes involved, expressing concern about the emotional health of his friends, completing his two-episode arc about his journey to overcoming his own toxic masculinity and emotional distance. Through healthy modeling resolving emotional conflicts, Jeff repairs the relationship between Troy and Abed. 

Even with their troops called off, Troy and Abed continue to fight because “it is the last thing they will do together”, showing that they still do care for each other and long to be in relationship with each other enough that they would continue fighting just to have an excuse to see each other. It is Winger that points this inconsistency between their claims of hatred and their actions, assuring them that although Jeff himself is sarcastic and distance, they do not need to model themself after him. That is is okay to be emotional and sincere. By being a male, fatherly role model that assures them that their expression of affection is okay, Jeff helps to heal the divide between Troy and Abed. 

In turn, Jeff himself is affected by the ordeal and genuinely acts with sincerity in helping to fix the problem, going along with the concept of “magical friendship hats” even when there was no one there to see it because in his own words, there wasn’t anything Jeff wouldn’t do for his friends. This point illustrates that just as Winger is able to help his friends by modeling constructive conversation and conflict-resolution within relationships for his mentees, he in turn is affected by their emotional vulnerability and sincerity, challenging him to become a better man. 

In the end, both the pillow and blanket forts are torn down. As it stands, Abed and Troy’s romantic relationship is again postponed, but Troy’s desperate retreat back to the safety of heterosexuality is abandoned. They again stand in noman’s land, friends with the potential to be so much more. 

### Hetero Relationships Used as a Trojan Horse for Queer Stories

Sadly, it is quite clear that societal standards and frankly cowardly NBC executives were not ready for a positive, canonized queer relationship between a Black man and a neurodivergent biracial Muslim man, both of whom are main characters, thus forcing Abed and Troy’s romance to remain subtext. However, through the power of heteronormativity, the straight relationships and dynamics within the show were still used to illustrate queer themes in a more socially acceptable way. 

Throughout the two-episode arc of the pillow war, Britta and Subway experience a forbidden love affair that ends when Subway is fired for performing a “deviant sexual act”. Anyone who has a basic knowledge of queer history within the United States can see the parallels to the all too recent treatment of gay people, and gay men in particular. Sex, or “sodomy” as it was referred to, between consulting adult men was not fully legalized in the United States until 2003 when the Supreme Court ruled in Lawrence v Texas that laws criminalizing sexual acts between people of the same sex were unconstitutional (Britannica). Before that ruling, and honestly still after, being proven to have “committed” sodomy was justification for firing someone. In fact, it was not until June of 2020 that the Supreme Court ruled it illegal to fire someone for being LGBT. 

Furthermore, the subplot of Winger and Annie within episode 13 focused on the perception of gender roles. Jeff attempts to track down someone named Kim who left a nasty note in his locker, believing it to be from a woman he scored. Annie initially encourages him to do so, feeling personally let down by Jeff romantically. However, when they realize that Kim is a man who was annoyed that Jeff never remembered him and that Winger had mocked him for “having a girl name”, Annie reacts poorly. The plotline culminates with Annie explicitly expressing regret over her narrow-minded assumption of gender roles and Jeff expressing sympathy and compassion for having been disrespectful. This act by Jeff shows emotional growth away from the stunted model of toxic masculinity he was at the beginning of the series. It compliments his actions in episode fourteen when he models health(ier) emotional relationship dynamics by helping to heal the rift between Abed and Troy, slowly progressing from a perpetrator of toxic masculinity to someone who breaks the cycle of oppressive gender roles that was passed down to him by his father. 

What both of these subplots have in common is the exploration of queer themes told via the mask of heterosexual relationships. Both storylines involved a man and women in conflict, making the concepts of gender and sexuality more easily digestible to a straight audience while quietly supporting the main, though subtextual, homoerotic conflict between Troy and Abed.

## Conformity for the Sake of Others

In the final act of season three, the roles present in the pillow wars are somewhat inverted. Troy, although not completely to terms with his sexuality, has concluded that he does not want to belong to the oppressive system of strict gender expression and rigid control of sexuality. He does not want to repair air conditioners. However, the question between freedom and conformity is again posed, only with Troy at the precious of the decision.

At this point in the series, the study group has been expelled from Greendale, leaving all of them adrift and a tyrannical police state in control of what was once a safe space⏤ or as much of one as their found family had. Although the school could hardly be called high-class or really very good at all, for the study group, it was a home and a place of refuge where they were protected. The Dean, flawed as he is, looked out for them all, even if it was with admittedly blatant favoritism that was inappropriate for someone in his position (Curriculum Unavailable). More than that, he was the only queer mentor in Troy and Abed’s lives. Though he was exasperating, he was part of Greendale and ultimately contributed more to the guidance and lives of the study group than any other faculty member of the school. If nothing else, he provided an example of a queer man in a position of power and authority, only to be stripped down by the same oppressive systems that had thus far kept Troy from living his full life⏤ the Air Conditioner School. Or, in metaphorical terms, the expectations of strict gender roles, heteronormatively, and unjust systems that purposefully seek to undermine and bar marginalized people from achieving success. 

With the Dean having been illegally imprisoned, the fate of Greendale is hanging in the balance and it ultimately falls to Troy to make a decision between personal liberty and the greater good. When he was run out of options to help the Dean, his friends, and his community Troy chooses the only option left⏤ to submit the expectations of society and conform so that he can access the tools needed to lift his family and community out of their current situation. Finally, Troy accepts entry into the Air Conditioner School. He submits himself to being a tool of the people who oppressed him, not for his own gain, but for the sake of others. During the pillow wars, Troy was willing to give up a part of himself for glory and acceptance, but in “The First Chang Dynasty”, he does so with a heavy heart, knowing what his is doing and what he is giving up, even if it is ultimately worth it to him. His actions reflect the path that Abed once considered taking but fought against. 

However, there is no shame in Troy’s defeat. For the force that Abed waged against was an internal one, with Troy caught between denial and desperation. But the battle of Greendale existed within the real world. The systems that taught Troy to deny himself, initially resulting in emotional conflict, had come in physical form to corrupt the institutions that were designed to tear them down⏤ higher education. The function of a college, even a community college, is to expand the world view of its students and prepare them to contribute meaning to the world. It should be a place where all students are free to explore and learn with equal opportunity and without fear of judgment for experimentation or for being their authentic selves. Instead, it was overtaken by a fascist system that sought to destroy those who did not conform to the model of society that those on top sought to perpetuate. It was Troy’s decision to join the ranks of the organization with the highest power to attempt to rip down the structure from the inside out. It is a common dream that often only idealistic young people hope to achieve⏤ making Troy the perfect candidate. 

Of course, to go forth on his voyage, Troy needed to say goodbye to his friends, his life, and most of all Abed. He knows this, clearly stating that in Air Conditioner School he “can’t ever have a relationship”, which by placement as the last drawback he lists, seems to have the most weight, as if it is his greatest regret in leaving. Yet, he decided that it was worth it. By a cruel irony, Troy knows that by leaving Abed, he is protecting him, and by some lesser extent, everyone else is as well. With the departure fit for a sweeping dramatic romance, Troy left Abed to complete his hero’s journey, leaving his most important worldly attachment behind. He stepped into the grey halls of air conditioner school, the color and life of Greendale sucked away in a personality-less expanse of passionless conformity.

## Tear Down the System...From the Inside?

Despite his talent for the craft, Troy is clearly unhappy in Air Conditioner School. He misses his friends, and as he says specifically, “I miss Abed.” Forbidden from seeing anyone he cares about, Troy can only work at what he is told to do, becoming a uniformed worker where he was once a colorful individual.

The dynamics of the air conditioner school function much like any other system comprised of straight men with access to power. In its more base form, it is a frat with strange rituals and rules. In the professional world, it goes by other names. The locker room. The clubhouse. The _room where it happens._ All systems are born from the same pool of privilege and operate under the same principles; condense power and wield it to the advantage of your group. Then, cling to your power with an iron grip and use everything in your toolbox to seize what you can from others. It is not an environment that suits Troy, though it was left as his only choice. His friends and community safe, Troy would most likely have kept his head down and done what he needed to get by, had it not been for the death of Laybourne.

With his departure, the main antagonist that Troy faced is gone, but his problem is not because Laybourne is not a mastermind villain that controls the world, he is merely the temporary head of one particular branch of one organization. The systems that he represented continue on like a hydra, with two new heads coming to replace the one that was removed. This reality is illustrated easily when Murray takes Laybourne’s place and is quickly proven to be eviler than his predecessor ever was, having murdered him to rise to power. Troy in turn steps up to the occasion to battle Murray. 

Yet, at the last moment, he subverts expectations. Instead of caving to the violent traditions of air conditioning school, Troy exercises compassion and takes pity on the new Vice Dean, helping him rather than allow him to die. Once again, Troy moves to undermined and end the tradition of toxic masculinity. Instead of working within the system, Troy rejects the system entirely. He comes to the realization that it is impossible to do good within a corrupt system and only by rejecting the power structures that exist can he make a positive impact. 

Of course, it is impossible to overthrow a centuries-old power dynamic in one day. Realistically, change is slow and incremental, at least when done through bureaucratic methods and not complete revolution. At the end of the episode, Troy _has_ achieved some form of improvement within the air conditioner school. Rather than isolate its students, the repairmen in training are allowed to participate in life with the other students. However, the structure is far from toppled. Troy is still indebted to the Air Conditioner Repair School and is trapped with a patriarchal system in which he needs to survive. While he has resolved the perceived disparity between his masculinity and emotional vulnerability, Troy has not yet completely accepted and processed his sexuality. 

# Compulsory Heterosexuality 

Although they often interact with each other in complex and difficult to separate ways, sexuality and gender are not the same things. To understand one’s gender identity, while it may eventually help one to be comfortable in accepting their sexual orientation, is a different process. By the end of season three, Troy has become more secure in his own interpretation of what it means to be a man and can carry that self-assurance with him into male-dominated spaces such as air conditioner school. Yet, he does not address within himself how his definition of a man as someone with compassion, who does not need to subscribe to the narrow field of “acceptable” masculine behavior, can also be queer. 

Tory is not stupid. That is clear. His difficulty in coming out to himself and the world is not based on a total lack of awareness but stems once more from the heterosexist culture that the Western world is founded upon. Troy understands that he loves Abed in some capacity. His connection to Abed is stronger than it is to anyone else, something that Troy repeatedly demonstrates through his specific devotion to Abed as he struggles with the Air Conditioner Repair School. However, Troy still dates Britta. He still conforms to the societal expectations placed upon him, resigned to watching Abed from afar, regaled to the status of _friend_ and nothing further. Throughout the first half of season four, he struggled to watch as Abed formed connections to others, fearing that he would lose his position as the most important man in Abed’s life, but unable to do anything to change the situation. Instead, he remained as he always was, a one-man squad in charge of the support, protection, and defense of Abed. 

In short, Troy is aware that his feelings for Abed are significant, but he is either unwilling or unable to address what the true nature of those feelings may be. Based on his difficulty in navigating this dynamic and his recent journey to liberation from repressive gender norms, it is highly likely that Troy is suffering from some form of compulsory heterosexuality. Although the term is most often applied to lesbians to express the difficulty of existing as a marginalized gender in a world that revolves around men, the base concept can still apply to queer men as well. 

Compulsory heterosexuality, also abbreviated to comphet, was first defined by Adrienne Rich in 1980 in her essay of the same name in which she discussed the intersection of gender, sexuality, and feminism. (Columbia). Although her essay focused on the specific difficulties that women face, the principles can be applied to anyone within the LGBT+ community who struggles to exist with a world dominated by cishet norms and power structures. As a man, Troy is expected to fulfill a specific place in society, as discussed in his relation to air conditioner repair. His situation is made more complex by the intersectionality of gender norms and race. As Kate Collins wrote, “...within the United States, African American men encounter barriers to some of the privileges of power and dominance associated with norms of masculinity that compulsory heterosexuality confers on White men” (Tolman, 161). The discrimination that Troy faces as a Black man in America, combined with marginalization based on his gender presentation and sexual orientation, combine to oppress him in a complex way that increased the effect that societal pressure to be heterosexual had upon him.

Tolman also references writings by R. W. Connell that argue, “another key component of the institution of compulsory heterosexuality is that male homosexuality, whether overt or suspected, be met with derision, humiliation, and violence, in line with the principle of denigrating anything feminine. That is, it is not only women for whom heterosexuality is “compulsory” but men as well.” (161) In the first half of season four, Troy has only half completed his journey to loving and accepting himself. The pressure to be heterosexual, placed upon him by the world at large and the dynamics within his own group, namely Pierces, Shirley, and to some extent Jeff, have stopped him from leaving the relative safety of the identity “sensitive but _straight_ man’ to “sensitive queer man”, a wholly new level of marginalized identity. 

This choice may not be entirely intentional. For many people, compulsory heterosexuality is not something that was done on purpose. Hence “compulsory”. Essentially, the societal programming imposed upon people that insists heterosexuality is the default is so strong, many queer people fail to recognize their own identities until later in life. Those who suffer from comphet often confusing feelings of friendship for romance because that is the expected dynamic between people of different sexes, or dismiss the feelings of attraction that they have for people of the same gender as friendship or with the belief that “everyone thinks like that so it’s not gay”. 

Due to the combination of comphet and his recent struggles with both internalized and systematic heterosexist homophobia, Troy chooses to be in a romantic relationship with Britta rather than Abed. At first, it does not appear to be a very happy arrangement, with Troy sticking closely to his traditions and friendship with Abed, prioritizing his “friend’s” feelings over his girlfriend's. It even appears that it takes a significant amount of time for the two to have sex. However, it is clear that, despite his strong connection to Abed and his pale-in-comparison partnership to Britta, a year passes with the two of them dating. 

It is finally on his anniversary with Britta that Troy comes to the realization that his relationship is not what it should be. With the help of Abed (because who else would he ask) Troy works through his emotions. He understands that his feelings for Britta are genuinely positive, but they are more akin to friends than lovers. Even more than that, however, he receives a blessing from the second most important man in his life, his father figure, Jeff. In a final scene of confrontation when all of his emotional turmoil comes to a head, Troy confesses that he doesn’t feel the way he thinks he is supposed to about Britta. Jeff, showing once again his growth and recovery from toxic masculinity, tells Troy, who is pretending to be Abed, “(Troy) needs to put himself out there and own how he feels. That proves he’s a man.”

This statement gives Troy the permission that he needs to end his relationship with Britta and finally, fully accept himself as he is, bringing unity to his understanding of his gender and his sexuality. 

#  **Coming Out to Yourself**

Troy exits _Community_ to undertake a journey of self-discovery to, in his own words, become a man and understand who he is. Having come to the realization that he is queer, Troy is ready to explore what that means for him. Although he is ultimately in love with Abed, and most likely is fully aware of that by this point, Troy is not ready to date him yet. For his own long-term mental and emotional health, Troy’s sense of self cannot be solely defined by who he is in relation to other people. When he is ready and stable, he will be able to return to Abed and they will be able to begin their life together, not as two halves of one person, but as two complete people in their own right, whose lives are enriched by the company and love of each other.

Of course, Abed struggles to let him go. Troy is the one person who can even begin to understand him. Who takes him seriously even when he is “acting crazy”. Who never judges him for having a brain that works differently or for having a unique way that he interprets the world. His initial reaction, much like it was during the pillow wars, was to find a way to keep Troy with him forever, his love for games and adventure mixing with his actual unstabilized mental health to create a world that represented his inner emotional turmoil. His world feels like it is ending so his brain tells him that it’s true. It is only through the intimate and supportive understanding that Troy has for Abed that he is able to break the fantasy and face reality. He comes to the realization that, although he is ready to embrace the relationship he desires with Troy, his friend is not. With great difficulty, Abed comes to the conclusion that the right thing to do is prioritize Troy’s needs over his own, just as he has their entire friendship. He loves Troy, so he lets him go. Though, of course, he reminds Troy that he is always welcome home and that Abed will be there waiting for him when he returns. 

# Conclusion 

Throughout the course of _Community,_ queer coding is used in both explicit and subtle ways to express the relationship between Troy and Abed. On the surface, they are a pair of extremely good friends, occasionally teased by their friend group for being almost “too close.” To the average viewer, it may be read as a meta-joke or even queerbaiting⏤ a hollow promise of representation that never is fulfilled. However, through interpreting Tory’s relationship with air conditioner repair as a journey of rejecting toxic masculinity and embracing his own sexuality, the themes and symbolism become undeniable. True, the message would have been stronger if the show had ever allowed Troy and Abed to be fully together in a direct and visible way. However, simplicity and transparency are not always the recipe for great art⏤ and for that matter, such explicit storytelling is often pointed to in attempts to discredit media as shallow, whether justified or not. At its core, _Community_ is a show about found family, made-up of people with varied backgrounds who have struggled against marginalization, rejection from their birth families, addiction, bullying, and the cruel world at large. Together, they form a group that protects and supports each other while celebrating their true selves. And _that,_ is pretty fucking gay. 

Works Cited 

“Compulsory Heterosexuality.” _Columbia Dictionary of Modern Literary & Cultural Criticism_, May 1995, pp. 52–53. _EBSCOhost_ , search.ebscohost.com/login.aspx?direct=true&db=lfh&AN=22449822&site=eds-live.

“Curriculum Unabialbe” _Community,_ season 3, episode 19, NBC, May 10, 2012

“Digital Exploration of Interior Design” _Community_ , season 3, episode 13, NBC, March 29th, 201

“English as a Second Language” _Community,_ season 1, episode 24, NBC, May 13, 2010

“Epidemiology” _Community,_ season 2, episode 6, NBC

“Football, Feminism, and You” _Community,_ season 1, episode 6, NBC, October 22, 2009

“Mixology Certification” _Community,_ season 2, episode 10, NBC, December 2, 2010

“Pillows and Blankets” _Community,_ season 3, episode 14, NBC April 5, 2012 

Tolman, Deborah L., et al. “Sowing the Seeds of Violence in Heterosexual Relationships: Early Adolescents Narrate Compulsory Heterosexuality.” _Journal of Social Issues_ , vol. 59, no. 1, Mar. 2003, pp. 159–178. _EBSCOhost_ , doi:10.1111/1540-4560.t01-1-00010.

“Urban Matrimony and the Sandwich Arts” _Community,_ season 3, episode 11, NBC

Urofsky, Melvin I. "Lawrence v. Texas." N.p., 19 June 2020. Web. 22 July 2020.

**Author's Note:**

> ...Lol jk I know it’s just queerbaiting and it’s never going to happen and pretending otherwise is just pathetic desperate gay hope and youthful foolishness...but this was fun. thanx for reading! Peace.
> 
> For Legal Reasons I do not condone you plagiarizing this essay for say... your media studies or queer theory class in an actual school setting. And if anyone did that I would not want them to tell me what grade they got because I am not a recovering brown-noser who needs to know if I earned an A...that would be bad. 
> 
> ;)
> 
> This is dumb but I hope you enjoyed it. I barely proofread and I still spent too much time on this...


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